Hetero-HK Project Booklet 《異質沙城 》場刊

異 質 Hetero -

沙 Hong

城 Kong

Hetero-Hong Kong

異質沙城

【異質沙城】為一次連結建築、劇場與文學的跨界實驗，亦是「2017港深城 市\建築雙城雙年展(香港)」參展項目，以香港作家潘國靈的長篇小說《寫托 邦與消失咒》內描繪的雙重空間為藍本，利用建築和劇場表現，發掘主流城 市之下異質空間的存在與可能。團隊在北角不同邊緣及縫隙之城市空間抽取 元素，以多種創作手法將地方的氛圍結合故事帶到展覽的竹棚裝置之中。 《寫托邦與消失咒》是一部有關消失之書，書寫嘗試消失的主角之餘，也收 集有關消失的哲思及各種故事。著眼於消失，皆因文人像班雅明描繪的新天 使，在時間洪流中迫不得已地前進，卻始終背對未來，睜眼看著被時代丟 棄、為著建設而拆毀的廢墟。小說雖設定於虛幻世界，卻處處可見對城市更 新的控訴，那一切過於光明而華美如天堂的是如何脆弱虛假，而夾縫中反能 孕育有血有肉的生命，儘管那總帶有缺陷、病態甚至瘋狂。 鍾宏亮教授及蕭敏的「都市間隙研究」選址北角，一個從來不在重點發展的區 域，因為我們想為這個城市說一個非主流的故事。這個老區在發展更替之下 新舊交集，同時遺留許多彷是不合時宜的建造物。它們就像小時候捉迷藏 時，讓人躲藏其中的雜物堆，讓在新發展區已不復存在的、盛載著故事的空 間和質感有容身之所。我們搭起臨時的竹棚，試圖拆解這些空間，撿拾一些 空間的碎片，並邀請藝術家以錄像或舞蹈介入，再結合故事重新組合，讓大 家看見不一樣的城市風景。 浪人劇場藝術總監譚孔文希望帶出小說捕風捉影的氛圍，以體驗式劇場帶領 觀者在竹陣中遊弋，又如在城市中探險，跟空間、角色玩一場捉迷藏的遊 戲。捉迷藏之中，消失的人和尋找的人只有共同存在始有意義。一座城若在 消失，而有人去探尋她的身世，紀錄和行動，感同身受，這場遊戲就不一定 徒勞。

計 劃 簡 介

Hetero-Hong Kong

異質沙城

Project Sypnosis

Hetero-HK is a cross-disciplinary experiment, an architecture x literature x theatre collaboration for the HK-SZ Bi-City Biennale of Urbanism\Architecture Hong Kong (UABBHK2017).

Inspired by the duality of parallel worlds depicted in Lawrence Pun’s novel Writopia and the Spell of Disappearance, Hetero-HK uses architecture and theatre to reveal the unseen, heterotopic city beneath the apparent, conformist one. Drawing from North Point’s various urban edges and gaps, Hetero-HK transposes the fictional narrative onto the district, representing it in multi-media exhibits framed by a scaffold installation.

Writopia and the Spell of Disappearance is a novel about disappearance, describing characters who attempt to disappear while gathering a “compendium of indices of disappearance” from philosophical and literary sources. Such fascination with disappearance resembles Benjamin’s vision of Klee’s Angelus Novus who, propelled by the river of time with his back towards the future, gazes at the ruins that was wrought for the sake of its construction. Set in an imaginary world, the novel nevertheless critiques the city’s relentless renewal. The new is so dazzling and glamourous yet often so fake and flimsy, while what is nurtured in existing interstices and margins is full of compassion, despite their flaws, pathological tendencies and even insanity.

North Point was chosen by Thomas Chung and Siu Man for their research on urban voids in order to seek out non-mainstream narratives for the city. An old district facing urban change, it comprises a collage of old and new where one can still find abundant idiosyncratic edifices. The built fabric resembles paraphernalia in which you would hide as a child playing hide-and-seek. These urban moments become receptacles for preserving stories and textures of the place, an attribute that new districts often lack.

We create an ensemble of paper, fabric and scaffold to deconstruct and collate such spatial fragments. We invited artists to intervene with video and dance, reassembling the narrative to create an alternative urban landscape.

Alex Tam, artistic director of Theatre Ronin wishes to encapsulate the fleeting imagery of chasing the wind and clutching at shadows. Using immersive theatre, the audience is led around the exhibition to mimic a city adventure, a game of hide-and-seek with characters and urban spaces. Meaning in hide-and-seek resides in the reciprocal play between both concealed and searching parties. If a city is disappearing, and people are tracing her history, recording stories and creating new ones, then and only then would it not be a nihilist game after all.

Hetero-Hong Kong

異質沙城

《寫托邦與消失咒》以兩種語言，虛構了沙城與寫托邦一實一虛的雙重空 間，前者以香港為縮影，後者以寓言之筆和意象手法，描畫書寫者的心靈秘 境、異色幻景。 小說以沙城一幢華麗安居開筆，其中一個示範單位中，作家遊幽消失了，其 情人悠悠於此展開一趟尋索之旅，從此她進入寫托邦，認識了寫作療養院看 守人／文字巫師余心。在余心的引導和誘惑下，悠悠逐漸深入寫托邦的國 度，空間移形換影──「回頭橋」、「刻寫板屋」、「消失角色收容所」、 「修道院迴廊」等輪番轉換，一場一景，流放的寫作族群諸如「夜寫者」、 「孤讀者」、「築居師」、「回頭者」、「沉降者」、「被閃電擊中的人」 等逐一登場。 悠悠穿梭於沙城與寫托邦，也往返於回憶和現在之間，過程中她歷經變化和 成長，逐漸由尋索者、悼念者變身書寫者，以文字解咒，進行自己的創作， 同時將消失的對象埋葬。悠悠與余心結成沉默旅伴，互相交換故事，又與其 他寫托邦成員結成「巫寫會」，在寫托邦中進行著永無休止的瘋狂捉迷藏遊 戲。小說中沙城與寫托邦雙互滲透，寫托邦無明確位置，寄身於沙城的縫 隙、內核以至極限盡頭，逃逸性與抗衡性並存。沙城的華麗外衣對照於寫托 邦的暗黑美學，共同的是二者皆被「消失咒」所附，沙城處於流沙狀態，不 時被外來的沙塵暴所襲，而寫托邦亦處身一場文學災難中，書寫者在沙上塗 寫，隨時作好準備，被一個大浪淹至。 小說最後將場景帶到「災難現場」，華麗安居那所「招魂屋」與寫托邦中的 「洞穴劇」重疊，二者同時被搗毀，一場「紙風暴」颳起；消失的遊幽終於 「現身」，余心與悠悠之間的隱形線段終被割斷，是為一段幽靈的召喚，一 場漫長的解咒，一個文字女巫的生成，一趟消失的終極旅程。

計 劃 寫藍 托本 邦 ： 與 消 失 咒

Hetero-Hong Kong

異質沙城

Writopia and the Spell of Disappearance

Original Text :

Writopia and the Spell of Disappearance employs two types of language to fictionalize the duality of the real and virtual worlds of Sand City and Writopia. The former takes Hong Kong as a microcosm while the latter uses allegory and imagery to depict the secret spiritual world of writers. The novel opens in one of the show flats of a “Magnificent Residence” in which writer Yau-Yau has disappeared. His lover Yauyau (in a different intonation) then embarks on a journey to search for her missing lover, entering Writopia and meeting the Writing Sanitorium guardian/word sorceress Yu-sum. Both guided and bewitched by Yu-sum, Yauyau travels deep into Writopia, encountering surreal settings such as “Turn Back Bridge”, “Writing Tablet House”, “Vanished Characters’ Home” and “Abbey Cloister” as one morphs into another. In turn, exiled writing characters such as “Night-writer”, “Lone-reader”, “Builder-dweller”, “Returnist”, “Sinkers” and “Those Hit by Lightning” present themselves one by one. Traversing between Sand City and Writopia, past and present, Yauyau gradually transforms from being a seeker and mourner into a writer who uses writing to remove her enchantment. Yauyau and Yu-sum become silent companions in Writopia, trading anecdotes, forming a “Witchwriting Club” with other Writopians and eventually playing a wild, never-ending game of hideand-seek.

In the novel, Sand City and Writopia permeate one another. It is hard to locate Writopia, as it exists in the gaps, core and extremities of Sand City, where escape and resistance coexist. The glamourous façade of Sand City contrasts with Writopia’s dark aesthetics, yet they are both under the ‘Spell of Disappearance’. Sand City exists on quicksand, often coming under attack from sandstorms from without, while Writopia finds itself mired in a literary catastrophe. Writopians’ writings in the sand run the perpetual risk of being washed away by a big wave at anytime. The novel culminates in a “Disaster Scene” in which the “Spirit-summoning House” in the “Magnificent Residence” coincides with Writopia’s “Cave Theatre”. Both are simultaneously destroyed in a ‘Paper storm’ that blew up. The disappeared writer Yau-Yau finally reveals himself as the invisible thread between lover Yauyau and Yu-sum is cut, for the sake of the summoning of a spirit, a drawn-out undoing of a spell, the birth of a word sorceress, the ultimate epic of disappearance.

Hetero-Hong Kong

異質沙城

活 動 一 Events _ 覽

1.

異質沙城 跨媒介展覽 Hetero-HK Exhibition

29/12

4/1 - 2018 11:00 am - 7:30 pm 2017

Connecting Space Hong Kong, 18 Fort Street, North Point 北角堡壘街十八號

2.

異質沙城•洞穴劇 體驗式劇場 Hetero-HK Cave Theatre - Immersive Theatre

30/12 2017

3:00 pm – 4:15 pm 8:30 pm – 9:45 pm

&

1/1 - 4/1

2018

2018

8:30 pm – 9:45 pm

Connecting Space Hong Kong, 18 Fort Street, North Point 北角堡壘街十八號

Hetero-Hong Kong

異質沙城

3.

浮沙之城•異質景觀

公開論壇 Heterotopology of Sand City -Public Forum

30/12 2017

4:30 pm

- 7:00 pm

Connecting Space Hong Kong, 18 Fort Street, North Point 北角堡壘街十八號

4.

5.

《築居師》 藝術裝置

《自照湖》舞蹈表演

Builder Dweller Installation

Narcissus’ Lake Dance Performance

29/12 2017

-

4/1

2018

1/1

4/1 - 2018 10:00 pm - 10:45 pm 2018

Back alley, 226 Electric Road

Watson Road Rest Garden

北角電氣道226號後巷

北角屈臣道休憩花園

Kong 異異Hetero-Hong 質沙城 質 沙 跨 城媒

介 展 覽 _ Hetero-HK Exhibition

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Hetero-Hong Kong

異質沙城

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被 包 圍 的 場 所

回 頭 橋

意 外 的 答 案

河 的 第 三 岸

不 動 人 偶

巫 寫 會 捉 迷 藏

巫 寫 會 捉 迷 藏

半 見 村

廢 置 圖 書 館

自 照 湖

鴻 雁 于 飛

Homecoming

2

築 居 師

Moonlight Writing Hut

Builder Dweller

Para/dise

Look-back Bridge

Unexpected Answer

The Third Bank

Natura Morta

Hide-and-Seek of the Spellbound Writers

Hide-and-Seek of the Spellbound Writers

Half-seen Village

Abject Library

Narcissus’ Lake

1

夜 寫 暗 室

Exhibits _ 展 品

Hetero-Hong Kong

異質沙城

這是展覽中唯一一件沒 有定點場所的作品。裝 上輪子的暗室是針孔照 相機內的房間，只要把 自己包圍，就即可進入 異托邦。

This is the only mobile work without a specific site context. The camera obscura is the inner room of a pinhole camera. One could enter Writopia anytime if they wish to be surrounded.

夜 寫 者 _Night Writer

莊一淇（麥秋） CHONG Yat Kei (Chou Autumn) 2014 複合媒材紙本 Mixed Media on Paper 39.5 x 27.5 cm

Hetero-Hong Kong

異質沙城

1. 夜

寫 暗 室 _ Moonlight Writing Hut “在這晚間劇場的光暈中，其中一些夜行動物沒有同行作 伴，他們形單影隻，鑽進自己的洞穴之中，這個洞穴可以隨 他們所願移形換影，可能是他們陋室中的書房，可能是酒吧 或咖啡店的一個角落，也可能是出走他城暫時寄居的旅館房 間。他們低頭，默默重複一個畫符或草書的動作，一種叫寫 作的勞動，可以給他們一個名字，叫「夜寫者」。”

流動夜寫者 Moonlight Writing Hut

“Under the glow of the night theatre, some of these nocturnal creatures plunge into their own caves with their solitary shadows. Such inner caverns are transformable, perhaps as their study at home, or the corner of a bar or café, or their temporary habitat in a hotel room abroad. With their heads lowered, and silently repeating that calligraphic or cursive gesture, writing is their labour, and they can be named ‘Night-writers’.”

如果說城市的日間服膺於太陽神的秩序，夜間則交由月亮女神接管。地下秩序包括黑社會、 把自己當成賽車手的小巴司機、街上的企街女廊、運送生果的果欄攤販等紛紛上場，共同上 演一齣淒麗的晚間劇場。靈神出動，其中，少不了一些低頭伏案的「夜寫者」。 如此沙城，寫作療養院看守人余心多年前也是待過的。悠悠來到寫托邦不過七天，余心領悠 悠到其中的藍月亮谷上，瞥見悠悠默默低頭寫作的背影，尋索者自身也開始了寫作的命途。

If daytime in the city submits to the Apollnian order, night-time is the dominion of the moon goddess. The subterranean order includes triads, minibus drivers who regard themselves as racing drivers, street-walking ladies of the night, fruit vendors of the wholesale market, etc.; they all come on stage to perform the tragic nightly theatre. Becoming active also are the Night-writers with their bowed heads. Yu-sum, the Writing Sanatorium’s guardian, has come across such Sand City scenes years ago. Yauyau has been in Writopia for no more than seven days when Yu-sum leads her to the Valley of the Blue Moon. Glimpsing the shadow of Yauyau silently writing, one can feel the seeker has begun her journey of writing.

Hetero-Hong Kong

異質沙城

築 居 師 藝 術 裝 置 _Builder Dweller Installation 日期：2017年12月29日至2018年1月4日 地點：北角電氣道226號後巷 「半完成」的東西，從外表看起來，常 常跟廢墟無異。在沙城中，建造許多時 候必先經歷破壞，城市處處架起暫時的 竹棚，以進步為名一步步毀掉曾經。

The half-built entities usually look just as ruins. In Sand City, to build means to destroy beforehand and start anew on tabula rasa. The cityscape overwhelmed by bamboo scaffolding erases its past in the name of ‘progress’.

Hetero-Hong Kong

異質沙城

2. 築

居 師 _ Builder Dweller “一些由築居師親手搭建的「語言的房子」，會以紙本書 的形態出現。這是一門用字句來建構世界的技藝，常常處 於失傳的惘惘威脅中，但又總有人傳承、發掘、開創下 去。”

“ ‘Houses of language’ that are erected by Builder-dwellers appear in the form of paper books. This is craft of constructing the world with words and phrases. Often under the threat of extinction, but there are always those who inherit, discover and start anew.”

沙城有「華麗安居」示範單位，那寫托邦中呢？在物質世界之外，還有故事的世界。不同於 現實的房子，寫托邦中的「語言的房子」，以字詞作灰泥和磚塊，字詞不僅用於表達思想， 還用於創造思想，設想出存在的可能世界。在寫托邦中，每一個寫作的人，其實都是一名「 築居師」。一些「半完成」的房子，從外表看起來，跟廢墟無異，但何謂「半完成」，何謂 「完成物」，未必容易分辨。 悠悠進入寫托邦，在敘述了華麗安居這所招魂屋的睡房、書房後，余心領悠悠勘察寫托邦中 的「語言的房子」，叮囑她也要成為一名「築居師」，親手築建屬於自己的房子。

There are show flats of a “Magnificent Residence” in Sand City, but how about Writopia? Beyond the material world, there is also the world of stories. Unlike a real house, the “Houses of language” in Writopia use words and phrases as their brick and mortar. Words do not merely convey ideas but they also create ideas and conceive possible worlds for existence. Every writer in Writopia is in fact a “Builder-dweller”. On the outside, some “semi-finished” houses appear no different to ruins. Yet what constitutes “unfinished” or “completeness” may not be so easily discernible.

After Yauyau described the bedroom and study of the “Spirit-summoning House” in Sand City’s “Magnificent Residence”, Yu-sum took Yauyau to survey the “House of language” in Writopia, reminding her to become a “Builder-dweller” and to build her own house by herself.

Hetero-Hong Kong

異質沙城

電 器 道 二 二 六 號 _ 226 Electric Road 把老唐樓拆解，結構之 外，還有人使用的痕跡。 如果城市是一本書，一幅 幅地磚就是其中一紙斑駁 的書頁。

Deconstructing the old Tong Lau reveals the structure and traces by users. If a city is a palimpsest, the collage of tiles forms one of its pages.

Hetero-Hong Kong

異質沙城

3. 被

包 圍 的 場 所 _ Para/dise “沙城人常常把「樂園」掛於口頭，但我猜很少有人明白 其本意為：「周圍被包圍的場所」。先要於四圍立邊界， 必須要有所隔離，否則便會受到外間侵蝕；那被保護的必 須被守藏，所以必然也是有所遮蔽的。”

“Sand City residents often refer to ‘paradise’, but not many of them know its original meaning: ‘A place that is enclosed’.

First, a boundary must be established on four sides to provide some isolation, otherwise there will be contamination from outside. That it must be preserved makes it inevitable for it to be somewhat secluded.”

余心帶悠悠來到一個地方，門前立著一個牌子：Pairi-daeza，即現今“Paradise”之古語，其本 意為：「周圍被包圍的場所」。寫托邦也是一個樂園（即便是失樂園），它隱蔽、四周被包 圍着，寄身於沙城的縫隙、內核，在一個極限盡頭，在未可知之所在。來過這裡的人，離開 後對它只有模糊的印象，除非他以真正的寫作折返，否則並無清晰指引路徑可依。它甚至缺 乏固定不變的位置，「被包圍的場所」四圍立着圓錐形石堆，作為遷移時的標記。

Yu-sum brought Yauyau to a place with a sign on its gateway: “Pairi-daeza”, the ancient version of today’s “Paradise”, whose original meaning is “a place that is enclosed”. Writopia is also a Paradise (even Paradise Lost). It is hidden in the gaps, the core, and the extremities of Sand City, in unknown locations. Those who have been here have only vague impressions upon departure, and unless they return with genuine writing, or else there is no clear pathway to follow. It even lacks a fixed position.

“A place that is enclosed” have conical stone piles marking its four corners to act as markers when it is moved.

Hetero-Hong Kong

異質沙城

東 區 走 廊 淺 浮 雕 _Eastern Corridor Bas Relief

Hetero-Hong Kong

異質沙城

4. 回

頭 橋 _ Look-back Bridge “俄耳甫斯幾乎要把愛妻從地獄拯救出來了，就差一步， 在地獄與人間的邊界禁不著回頭，妻子即化成一團魅影 ──又或者，這根本就是這位善音之人所欲求的？將她永 恆地打發到無盡深淵，這樣她便永存。”

“Orpheus almost rescued his beloved wife from the Underworld, but right at the exit he could not resist but turned back to look, and she instantly turned into a phantom. Or perhaps, this was what this music maestro desired all along? To banish her eternally to a bottomless abyss, so that she will last forever.”

余心把悠悠帶到一道「回頭橋」，橋的一端叫「此岸」，橋的另端叫「彼岸」；橋墩由一排 回頭望的石雕塑支撐著，包括羅得之妻、俄耳甫斯等等；變形的新天使從橋上飛過，眼睜睜 目睹橋的碎片，堆疊積高鋪成一條綿綿的瓦礫長河。那無非是要告誡世人，回頭之危險，有 些甚至迹近侵犯神明，是要受到懲罰的。然而，說是告誡，又像是加倍的引誘，悠悠聽著， 心意更堅，說道：「拒絕把過去僅僅當成過去，這樣它就常在。」「不是要回到過去，而是 始終把『過去』攜帶，成為上路的一件隨身物。」余心給她迎面吹來一陣風，祝願悠悠，雅 典娜之愛鷹，萬事小心，好上路。

Yu-sum takes Yauyau to the “Look-back bridge”. One end of the bridge is called “this shore” while the other end is called “the other shore.” The bridge piers are supported by a row of stone sculptures that look back, including Lot’s wife, Orpheus, and so on; a deformed new angel flew over the bridge, staring at the fragments of the bridge, stacked into a long river of rubble. Undoubtedly, this tale serves to warn the world of the danger of turning back. Some even regard this as blasphemous and needing to be punished. As a caution, and as if a double temptation, Yauyau became resolved, declaring, “Refusing to regard the past merely as past, so that it will always be here.” “Not to return to the past, but to carry it so that it becomes part of my belongings on my travels”. Yu-sum blew Yauyau a gust of wind, wishing her well, as the Owl of Minerva, and to take care on the road.

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夜 行 動 物 _Nocturnal Animals 作品簡介：

〈夜行動物〉及〈夜寫 者〉為《寫托邦與消失 咒》插畫，刊於《字花》 第50期，2014年7-8月號。 Nocturnal Animals and Night Writer are illustrations of Writopia and the Spell of Disappearance, they were published on Fleurs des Lettres Vol. 50, Jul-Aug 2014.

莊一淇（麥秋） CHONG Yat Kei (Chou Autumn) 2014 複合媒材紙本 Mixed Media on Paper 39.5 x 27.5 cm

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5. 意

外 的 答 案 _ Unexpected Answer 鹿讓人聯想到迷路或是直覺。馬格列特畫的門開了一個 洞，不同的人也許就會看見不同的東西。回頭也許不代表 留戀，倒騎花鹿，順應著內心而行。

Deers are linked with imageries like intuition or the loss of direction. When one sees through a hole carved on Magritte’s door, they may see different things. Looking back could mean going beyond nostalgia; following one’s heart like riding a deer backwards.

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illustration of booksh

helf

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北 角 汽 車 渡 海 碼 頭 _North Point Vehicular Ferry Pier 汽車渡輪曾是唯一渡海交通工具，隨着 海底隧道通車，它終於一九九八年停 駛。也斯曾提過各方的車子在這裡待 渡，然而現在閒人免進的牌子豎立，碼 頭只供運送危險品。 Vehicular ferry was once the only means of transport across the harbour. As the cross-harbour tunnel started its operation, the vehicular ferry stopped its service in 1998. Poet Yasi mentioned different vehicles await for crossing at this pier. However, it now only serves as a pier for dangerous goods, fenced off with a sign of “No unauthorized entry”.

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6. 河

的 第 三 岸 _ The Third Bank “男子出走了，但又不曾遠離。大河離他家不遠，男子就 孤獨地在河上漂流，不曾離開大河，永遠又在別方。獨木 舟才是他生活的理想地方，河上漂流才是他的理想存在狀 態。這才是真正的「病」。消失劫，消失咒，其實也為 ： 消失願 。 ”

“The man ran away, but never went far. The river is not far from his home. The man drifted alone, never leaving the river, but always in another place. Canoe is the ideal place for living, and drifting along a river is his ideal existence. This is the real ‘sickness’ - disappearing theft, disappearing spell, and in fact, disappearing desire.”

悠悠在「刻寫板屋」抄寫了一段日子後，余心領她到寫托邦一個非常隱蔽的角落：消失角色 收容所。這裡，住著眾多小說中消失的角色，悠悠在裡頭轉了一圈，見到悟者甄士隱，見到 漂流在第三岸的父親，見到離家出走的老父范閩賢，見到被神祕黑衣女子攝走了魂魄的未婚 夫等等，以至在肥土鎮中消失的花初三、花里耶，她都碰到了。這個地方，余心一般不把人 帶來，因為進來的人本身也有可能消失，若回返不了，也可能變成一個消失的角色。在「消 失角色收容所」中，等待悠悠填入一個新名字：遊幽，又或者，如果不成，那名字將替換成 自己：悠悠。

After a long period of copying in the “Writing Tablet House”, Yu-sum led Yauyau to a very hidden corner of Writopia: “Vanished Characters’ Home”. Many literary characters who disappear in novels reside here, including The Third Bank’s drifting father, the runaway father Fan Min Xian and the fiancée who had his soul snatched by a mysterious lady in black. Yu-sum usually do not bring people here, because there is a risk for those who enter to disappear. If they cannot return, they may also become a disappearing character. The “Vanished Characters’ Home” is waiting for Yauyau’s new entry Yau-Yau (writer). Or perhaps, failing that, the name could be changed to herself: Yauyau (lover).

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北角有多個「死場」，人煙稀少，時間 近乎靜止，有的曾是喪屍片取景地。雖 說是死場，卻因為劏成一個個小格，才 讓許多小眾行業得以生存；集郵店、古 董店，像一個個封存的時光盒子。 There are multiple “dead malls” in North Point, some were shooting venues of zombie movies.

With very little footfall, time seems to flow at a different speed. However, since they were divided into really small units, they retained and archived small businesses like philately and antiques.

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7. 不

動 人 偶 _ Natura Morta “有人在晚間打量櫥窗，隔著玻璃跟射燈照著的模特人偶 喃喃訴說：「這麼多年了，歲月的刀痕不曾刮在你臉上， 你美麗如昔」，櫥窗人偶忽然有了卜卜的心跳；街角的重 逢故事千百年來發生不少，沒料到十年不見的「你」變了 玻璃纖維硬膠狀，亭亭的立在我面前，親愛而又陌生的「 你」還願意跟我在城中遊弋嗎？這樣的一篇櫥窗人偶「兩 生花」故事，一個作者在反覆寫著，鍵盤聲穿透寂寥的樓 層，永無完結。”

“Someone stared at the shopfront, murmured to the mannequin: ‘it’s been years. No traces of time is left on your face, you look just as beautiful as before.’ then the mannequin suddenly came to life. I have never thought that ‘you’, the one that disappeared for ten years would stand in front of me, crystallized but still mesmerizing. As the writer types the story of the double life of a mannequin, the sound of keyboard clicking passes through the floor slabs and the sleepless night.”

沙城，夜間的幽靈混進晚上仍不願歸家的人群裡；凌晨三時，晚間陰氣最重的時候，月亮女 神登上她的廣寒宮寶座，俯瞰著晝伏夜出的人、巫或魔、半人或獸。其中，有人在街頭與故 人重逢，十年不見，美麗如昔，亭亭玉立於眼前，卻是玻璃櫥窗中的一個人偶。

In Sand City, the spectre of night blends into the wanderers who would not go home. At 3am in midnight, the moon goddess ascends her throne, overlooking humans, monsters, witches and the therianthropes. Some of them encounters an old friend parted ten years ago at a street corner, shocked by the timeless beauty. However, inside the glass shopfront there is only a mannequin.

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《蟬迷董卓》的浮雕象徵了幾十年的聲色 犬馬的「小上海」時代，皇都的飛拱過半 世紀依然屹立，只是氣數未知。皇都戲院 地庫商場多番改建及僭建，破落失修，又 有如迷宮。京華膠片的許多招牌還在商場 中發著迷離的光。

《蟬迷董卓》水泥浮雕 Diaochan and Dong Zhuo Concrete Mural 贊助藝術單位：倒模工作室 Sponsoring Artist Unit: Moldflip Studio

Diaochan and Dong Zhuo Concrete Mural symbolizes the decades of extravagant lifestyles of “little Shanghai”. The arches of State Theatre stays over half century, although its future left unclear.

The mall at basement has a labyrinthine plan, the lights from the corner billboard shop shimmers in the dark.

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8. 巫

寫 會 捉 迷 藏 _ Hide-and-Seek of the Spellbound Writers “誰人要是開始了一個遊戲，跟自己的影子捉迷藏，便注 定永無寧日，終至陷入瘋狂。都是捕風，都是捉影。”

“If one starts a game playing hide-and-seek with his own shadow, then one will be doomed to be unsettled forever, and descend into madness eventually.

It is to chase the wind and to clutch at shadows.” 《真體字》京華膠片

曾幾何時，在寫托邦，余心見證過一場瘋狂的捉迷藏。捉迷藏的夥伴共七人。一個理論家， 一個評論家，一個劇作家，一個演員，一個編輯，一個作家，後來還加上一名「孤讀者」， 七人自少年時候便互相認識，自組成一個「巫寫會」，定好每年白天最短夜晚最長的時分， 即一年之中的「冬至」，為他們的週年紀念日。紀念日以一場捉迷藏開始，好延續他們小時 候日復日的遊戲玩樂。平日流離失散的他們，這天會回到「原初之地」，互相找尋對方。遊 戲持續十年，可到了第十一年，作家消失了，他沒有來。

Once upon a time, Yu-sum witnessed a fanatical hide-and-seek in Writopia. There are seven in the hide-and-seek gang: a theorist, a crtic, a theatre writer, an actor, an editor, a writer and a ‘solitude reader’. They have known each other since small and formed a ‘Spellbound Writing Club’. The anniversary is on winter solstice. To celebrate, they would start the day with a hide-and-seek game to continue their favourite childhood play. The diasporic septet would return to the ‘place of origin’ to search for one another. The game went on for ten years. However, when it came to the eleventh year, the writer disappeared. He did not come.

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八十年代，東區走廊及地鐵還 未通車，英皇道糖水道一帶人 車爭路情況嚴重，許多行人天 橋於是建成。如今，斑馬線是 主要的選擇，城市上空穿插的 天橋則鮮有人流。 During the 1980s, the traffic artery King’s Road was highly congested and multiple elevated walkways were built before the Eastern Corridor and the Island line of MTR were completed.

The footbridges, hovering over the zebra crossings, hence were left deserted.

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9. 巫

寫 會 捉 迷 藏 _ Hide-and-Seek of the Spellbound Writers “而我們小時候玩捉迷藏的道具背景──大桶衣櫃、五 斗櫃、碌架床、後樓梯、街巷、小公園，卻一一在沙城 中「人間蒸發」或者成了築起圍欄的「閒人免進」禁地， 好像「沙城」這城市自身也有著她自己的消失意志，要加 入我們綿延多時，從開始其實就一直沒有告終的捉迷藏遊 戲。”

“The settings and props that we used to play hide-and-seek when we were kids - wardrobes, bunk beds, back tairs, alleyways, pocket parks – one by one these have all but ‘evaporated’ in Sand City or have been fenced off with“no entry” signs. It is as if Sand City itself possesses her own vanishing will, wanting to join in to our game of hide-and-seek that we have actually never stopped playing.”

在寫托邦中，日落前讓捉迷藏終結的遊戲不止發生一次，今趟結成巫寫會，參與的有：悠 悠、余心、霏霏、斑馬明（文化疾病徵候學家）、安安（孤讀者，後成為書墓園的掘墓人） 、不知傳了多少代的「拾荒者」，正名為「世界剝落物的資源回收者」。六人尋找一個消失 者：遊幽。

The game of hide-and-seek had repeated in Writopia more than once. This time, Spellbound Writing Club includes: Editor Yauyau, Yu-sum, Fay, Zebramin (Literary Pathology Climatologist), On On (“Lone-reader”, later Gravedigger) and The Gleaner (officially called Recyclist of the world’s debris).

Six of them search for a missing person: the writer Yau-Yau.

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清風街後巷街角小舖，頂著茂密的植物，向 街掛一面鏡，題「Reflection in a Mirror」， 向雲石反光面的小巷又掛一面，反映城市縫 隙的碎片。 The corner stall at the backalley of Ching Fung Street is topped with lush vegetation. Two mirrors are hung at both sides with caption painted “Reflection in a Mirror”, reflecting multiple fragments of the crack of the city.

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10. 半

見 村 _ Half-seen Village “我來到一個半見村，所有事情都只浮現出它半個的輪 廓。一個人只露出了半身，平齊地在腰間截斷，雙腿不見 了。只有左邊的人未必一定是左傾的。右邊的身軀失去了 左邊的配合，一個人還如何拍掌呢？人體的器官很多原來 都是成對的，現在卻變成，獨眼，獨耳，獨肺、獨腎、獨 手，獨足，器官沒了伴侶會感到孤獨嗎？分成一半的子爵 會在這裡出現嗎？”

“I came to a half-seen village where all objects only show half of their form. A man only showed his upper body. His legs disappeared, his torso is cut right at the waist. People only having their left halves are not necessarily leftists.When the right half loses its counterpart, how could one clap with a single hand? A lot of organs come in pairs, but now only one is left. Would I encounter The Cloven Viscount here too?”

人們一旦企圖尋回失去的東西，就注定展開放逐的旅程。在「那邊遙寄的放逐者遊記」中， 遊幽走過不同異域，像從來沒有人帶傘的地方、只有零星作者在低頭看著自己的書的冷涷圖 書館，還有一條半見村，在這裡物事只露出一半的輪廓。遊幽走上了街道，看見了人群，也 遇上了自己，身份掏空但也有始終不可擺脫的，是異國神遊，也是內心穿行。

When one tries to search for what is disappeared, they are destined to embark on a journey of exile.

In the ‘Travelogue of an exile from that side’, the missing writer Yau-Yau walked past different zones, for example, a place where nobody brings an umbrella, the frozen library where only writers read their own books and a half-seen village. Here, everything reveals only half of its outline. As Yau-Yau walked on the street, he sees himself amidst the crowd. One is still bounded even when identity is disposed.

A journey of exile to foreign places is also a revisit to the inner self.

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你 在 此 _You are Here

作品簡介：

以紙本裝置紀錄北⾓這 片⼟地的蛻變，默默訴 說城市發展淹沒了北⾓ 最初的海岸線。 Documenting the changes of this piece of land - North Point, by a paper installation, to tell the original shoreline being gradually swallowed by our urban development.

何苑瑜 Louiza Ho Yuen-Yu 2016 紙本裝置 Paper Installation 76 x 105 x 35 cm

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11. 廢

置 圖 書 館 _ Abject Library “有天使在空中飛翔，看真原來是一件件天使雕塑，每 個天使背上都有一雙插著白色羽毛的大翅膀，通通是折 翼的，才不幸墮落於人間。但據說要丈量人間與天堂的距 離，圖書館是最接近的地方了。我抬頭一看，原來天使雕 像插著的翅膀是一本一本攤開放大的書，書皮貼背白色書 頁向開，書邊沒齊刀切割而是錯落有致呈原始的鋸齒狀， 看起來果真像一雙雙打開的翅膀。”

“Angels flying in the sky. On a closer look they were sculptures of angels, all with broken wings. That was why they descended to this world. There was a saying that the library is the closest place to heaven. I looked up, noticing the wings on the statues are giant opened books. The edges were raw and jagged, for a split second I thought they were spreads of wings.”

在出走過程的某一站中，遊幽來到一座遭廢棄的圖書館。圖書館有不同區域、不同層界。在 「雕像界」中，遊幽遇上博爾赫斯的大理石雕像、身上長滿藤蔓和荊棘的泥雕閱讀人、背上 插著書籍翅膀的天使雕塑。「災難界」中，焚燒書籍的「華氏451」區與書籍結成一塊塊乾 冰的「書籍冷凍區」互為毗鄰，隔壁的「書籍地震區」中，書櫃歪倒、毀壞，彷彿不久前經 歷過一場地震。遊幽往深處而下，在「書墓園」中遇到把書籍以四季輪流耕作法埋葬的災難 工作者安安，他在墓碑列陣中為遊幽準備了屬於他的一塊，讓他親自投進去如投進一個深井 般。

The writer Yau-Yau came to an abject library in the journey of exile. The library is divided into different zones and layers. In the “sculpture zone”, he encountered the great marble statue of Borges, clay sculpture reader whose body was covered with vines and thorns as well as the angel sculptures with books as wings. In the “crisis zone”, the incinerator of Fahrenheit 451 was placed on the side of “frozen books zone” where books are turned into dry ice. The library seems to have survived an earthquake, with people walking over ruins of bookshelves. As Yau-Yau travelled downwards, He met On On the gravedigger. He reserved a plot among the grid of graves for Yauyau, and he sank into the soil like diving into a deep well.

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陳偉洛《自照湖》投影裝置 Narcissus’ Lake Projection Installation by Chan Wai Lok 孤獨慢慢累積，滴成湖泊，淹沒整個房間，唯 有在幾乎靜止的空間與自己對話，坦承最赤裸 的自己。 Solitude accumulates drop by drop into a lake, overwhelming the whole room. One could only face the truest themselves talk to oneself in a space of complete stillness.

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12. 自

照 湖 _ Narcissus’ Lake “原來這湖盛着的不是水而是白色紙漿，投進去也許不失 為滋潤心靈的流奶溫泉。也許我也可加入他們，在紙漿之 湖中泅泳，或者沉到湖底變成一片美麗的珊瑚？”

“The lake is not composed of water. It is filled with white pulp instead. Perhaps its a moistening spring. Perhaps I could join them, to swim in this white pool of pulp, or to sink to the bottom becoming a piece of coral fossil.”

遊幽投進一個資源回收筒中；隧道的盡頭把他帶回沙城一個不為人知的堆填島。途經一片沼 澤，經化學漂白的樹漿在日光之下冒起水泡，在地上蒸騰着、流竄着。湖邊圍著幾個同類生 物，他們低頭看着湖面，完全置四周於不顧。終於「咚」聲連連，遊幽看著一個個墮進湖 中，化成泡沫。遊幽以念力對抗湖鏡的巨大磁場吸力，拔足而逃。他緊抓一棵漂流木將命運 交付給它，隨急流來到一個低窪地帶。在這裡，遊幽將目睹一場紙團舞蹈，天空颳起旋風， 紙鶴、紙鳶、紙飛機等在空中曼妙飛揚、急速墜落。遊幽最後遇上負責收拾這場紙風暴的 「世界剝落物的資源回收者」，將他變成一個紙人。

The writer Yau-Yau sank into a recycling bin. The tunnel brought him back to an unknown landfill in Sand City. They walked across a swamp bubbling with bleached pulp. Surrounding the lake were some similar creatures, staring at their own reflections with full attention. Finally, with consecutive dull thuds, Yau-Yau witnessed them falling into the lake one by one, melting into foam. With his will power, Yau-Yau resisted the almost magnetic attraction and escaped. He then saw a paper storm where paper cranes, paper kites, paper planes were whirled up into the mid-air then plunged sharply. finally, he met The Gleaner, recyclist of the world’s debris, who turns the writer into a paper man.

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13. 鴻 雁 于 飛 ──《 》

哀 鳴 嗷 嗷

詩 經 ． 小 雅 ． 鴻 鴈

_ The swan geese fly fast, with cries sorrowful and sad.

-Book of Songs. Xiao Ya. Hong Yan

糖水道總站是環繞北角電車線的起點又是終點。天橋露宿 者幾度遭趕絕，一群群的鴿子飛走了又回來。

The terminal at Tong Shui Road is the start and end of the tram line around North Point. The homeless people on the footbridge were cleared few times before. Pigeons left and come home again.

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_ Sponsoring Artist Unit

贊 助 藝 術 單 位

倒模工作室由兩位修讀建築學背景的水泥設計師創立 。我們專注於設計本身和細節 的品質，希望讓人們對混凝土的多樣性有所認識。混凝土曾經是冰冷的建築材料， 但我們正在尋找一種方式，令你感受到水泥的暖。我們堅持親自設計每一件作品， 每件作品都是獨一無二的，只有在倒模才能找到。 Moldflip Studio is founded by two Concrete designers with backgrounds in architecture. We focus on design originality and quality in details. Our main aim is to give people a diversified appreciation of concrete. Concrete used to be regarded as cold, but we are finding a way to give it compassion, in the hope of warming you. We adhere to the personal touch of designing every one of our works, each of them is uniquely moulded and can only be found in Moldflip. 工作室網站 Website: moldflipstudio.com

莊一淇 （麥秋）

展 出 藝 術 家

生於香港，畢業於香港中文大學藝術系，國立台北藝術大學美術創作研究所，在台 北留學時開始一系列關於流浪動物的畫作。曾於香港及台北舉行畫展，參與展覽 〈憂鬱體液〉（2016）、〈馴養記〉（2016）。偶爾為文學作品畫插畫，如潘國靈《 寫托邦與消失咒》（2016）及璇筠《水中木馬》（2009）。

_ Exhibiting Artists

CHONG Yat Kei ( Chou Autumn ) Hong Kong born, Chong studied Fine Art at The Chinese University of Hong Kong before undertaking an MFA at Taipei University of the Arts. She made a series of drawings and paintings recording the living conditions of stray animals during her stay in Taiwai. She held exhibitions at Hong Kong and Taiwan. She has dedicated to the exhibitions “Black Bile”(2016) and “Domesticated”(2016). She made illustrations for literature works, such as Lawrence Poon“Writopia and the Spell of Disappearance” (2016) and Leung She Kwan “Trojan in the Sea”(2009). 作品網站 Website：mcautumn.wixsite.com/chou

何苑瑜 畢業於香港城市⼤學創意媒體系,主修電影藝術。近年活躍於參與及策劃⽂化藝術活 動及藝術創作,其作品曾於多個本地及國際性展覽展出。何苑瑜於2008年獲香港版畫 ⼯作室駐留藝術家獎，其⾸個個展《渝》於2009年舉⾏。2015年，獲IMPACT 9國際 版畫會議邀請，發表展覽提案「Pop Up Press！圖像藝術推廣計劃」。2016年，其策 展展覽「柒紙媒—紙上北⾓」於油街實現展出。同年何⽒獲香港藝術發展局頒予海 外藝術⾏政獎學⾦前往英國倫敦藝術⼤學Chelsea School of Arts 修讀策展碩⼠課程。 Louiza Ho Yuen-Yu Louiza graduated from School of Creative Media, City University of Hong Kong (Major in Cinematic Art). Louiza has been actively participating in a number of local and international art and culture exhibitions and events in recent years. She was awarded as the Artist-in-Resident of Hong Kong Open Printshop in 2008 and her first solo print show- “Metamorphosis” showcases in 2009.

In 2015, her curatorial projects, “Pop Up Press! A Graphic Art Promotion Scheme” was invited to present at IMPACT 9 International Printmaking Conference in Hangzhou, China and “7-Paperholic” was selected and exhibited at Oil Street Art Space in 2016. Louiza was awarded Overseas Arts Administration Scholarships from The Hong Kong Arts Development Council in 2016 for undertaking the MA Curating and Collections at Chelsea College of Arts, University of the Arts London.

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︽ 異 質 沙 城 洞 穴體 驗 劇式 ︾劇

場 _ Cave Theatre - Immersive Performance “誰人要是開始了一個遊戲，跟自己的影子捉迷藏，便注定永無 寧日，終至陷入瘋狂。 都是捕風，都是捉影。 ＊ ＊ 你要知道他怎樣消失，你唯有自己親身經歷一次。 如影隨形地跟著他吧。漸漸成為對方又漸漸分開。 跳一段令人無法別過面去的雙人舞。 如影隨形地跟著他吧。 若他不是幽靈你就將自己變成附身其上的幽靈吧。”

“If one starts a game playing hide-and-seek with his own shadaow, he is doomed to be unsettled until he sinks into utter madness.

It is to chase the wind and to clutch at shadows.

If you want to know how he disappeared, you have to experience it yourself.

Follow him, shadow him, become him then part him.

Perform a memorable pas de deux.

If he is not a spectre, turn yourself into a spectre of his.” 演 出 詳 Performance Details _ 情

演出（共六場）： Performances Detail (6 in total) : 日期：2017年12月30日 、 2018年1月1日至4日 Date : December 30, 2017 , January 1 - 4, 2018 時間：3:00pm– 4:15 pm (只限2017年12月30日) 、8:30 pm– 9:45 pm (每日) Time : 3:00 pm - 4:15 pm (December 30, 2017) & 8:30 pm - 9:45 ( January 1 - 4, 2018) 地點：Connecting Space Hong Kong北角堡壘街十八號 Venue: Connecting Space Hong Kong, 18 Fort Street, North Point 票價：自由定價 （建議：一百二十元） Price : Discretionary (Recommended at HKD $120)

團 Crew _ 隊

導演 、 創作：譚孔文（浪人劇場藝術總監） ／ 作曲及音響設計：彭欣琳 ／ 音響 控制：任碧琪 ／ 服裝指導：張蔓姿 Director,Creation: Alex Tam (Artistic Director, Theatre Ronin) / Composition and Acoustic Design: Pang Yan Lam Vivian / Acoustic Control: Yam Pik Ki / Costume Designer: Cheung Man Che

44 Hetero-Hong Kong 異質沙城

演 出 簡 Introduction _ 介

捉迷藏好玩，但如果要找的人一直的躲藏下去或從此消失，這還好玩嗎?這或許 是中了捉迷藏的咒語。

不斷追逐丶尋覓丶與影子共舞，成了病態，終至瘋狂。 如果你消失了，我會來找你，那麼我消失呢？ 或許事物的意義總是要待消失了才真正知曉。 或許你渴望被我尋找 或許我們一起消失吧。 演出以潘國靈《寫托邦與消失咒》的角色遊走、經歷和穿梭在展覽空間，結合 不同的元素，進行一次全新的探索和實驗，與觀眾一起捉迷藏。 不要怕，可能最後與你們一起消失，這也很浪漫，對嗎？ Hide-and-seek is a fun childhood game. Is it still as lighthearted if the one who hides never reappears? Perhaps it is the spell of hide-and-seek in effect.

Based on the characters and experience inWritopia and the Spell of Disappearance, the immersive performance leads the audience traversing the exhibition site. Different elements and designs aim to engage the audience in a game of hide-and-seek and to go on an adventure.

導 演 的 Director’s Words _ 話

當從潘國靈《消失物誌》中知道「捉迷藏」這個兒時遊戲原來已有數千年歷 史，而這個遊戲卻在當下的兒童群逐漸消失時，我是感到震驚的。 而當我帶領年輕表演者們，一起在北角的碼頭前玩捉迷藏，自己原來是希望通 過是次綵排嘗試再現一些已消失的東西，而希望大家可以重新認識和記起。 感謝蕭敏和Thomas的邀請，才有這次的演出，也感謝潘國靈一直的信任和支 持，這個演出是一次嘗試，如果觀眾通過演出感受到文學和建築對人的內在關 係，而令你再多走一趟自己的城市、多看潘國靈的書、多看我們的演出，這個 演出的目的已經達到。 感謝參與是次創作的團友們。無言感謝。 譚孔文 2017年12月12日

_ Performer /Artists

表 演 者筆 ／劃 創序 作

Hetero-Hong Kong

異質沙城

角色 Character

演員 Performer

霏霏

何嘉翹

現就讀香港兆基創意書院表演藝術科。 A student of performing art in Hong Kong Lee Shau Kee School of Creativity.

安安

陳昊霆

畢業於國立台灣藝術大學戲劇系 、榞劇場全日制全方位戲劇證書課 程。 ／ 一個擁有一雙兜風耳還在發掘自己小宇宙的八十後。 Everything is Everything. / I am a small potato. / I am a star.

斑馬明

張利雄

自由身演員、舞台工作者及平面設計師。2016年起成為斐劇場團拾貳團 員，參與創作及演出，現任斐劇場駐團創作人，並開始學習現代舞。加 入天比高前主要參與音樂劇演出及制作，並於迪士尼樂園擔任演員。 Freelance actor and graphic designer. Became a member of Fei’s Theater in 2016.

Participated in the creation and performance. He is currently the creator of Fei’s Theater. Recently, he began to learn modern dance. Before Fei’s Theater, Holmes mainly worked in musical performances and served as an actor at Hong Kong Disneyland.

拾荒者

張衍彤

畢業於榞劇場第一屆全日制全方位戲劇證書課程 。 ／ 近年演出 : 影話戲《再見十二浦》、《盛宴》；「台北藝穗節」:翹 韜個人創作《大師與專家》、《如果我...不是》；榞劇場《榞創系列之 睇你點死》; 新光戲曲文化《小城風光》。 Freelance actress, graduate at Radix Troupe in Full-time All-round Theatre Certificate Training. Hope to experience life through drama. Recent works include The Reminiscences, The Feast, Magic if...not, etc. Life sucks, but we’re not alone!

悠悠

張蔓姿

Darling, you got to let me know ／Should I stay or should I go ? 如果有消失的技能，就有選擇逗留世界的自由，逃到消失的城，成為孤 獨的人，還是渴望有誰會來尋找。／畢業於香港演藝學院戲劇學院，主 修表演。／每天活在創作中。喜歡戲劇和音樂。 If one could master skills of disappearance, one should have the choice to stay. If one escapes to a disappearing city, all in alone, one still wishes to be searched for.

Graduated from HKAPA with a BFA (Honours) Degree in Performing Arts. https://m.facebook.com/cheungmangigi/

余心

趙鷺燕

因婆婆愛看歌仔戲和布袋戲,從小受到薰陶,也喜歡看戲。畢業於香港演 藝學院戲劇學院,獲藝術學士(榮譽)學位，主修表演。現為自由身演員。 Grown up watching Taiwanese opera and puppet shows with my granny. Graduated from HKAPA with a BFA (Honours) Degree in Performing Arts. Obsessed with rotation, biting people and shouting.

遊幽

蘇權威

小時候總會問「我從何來？」，長大後，問題漸漸變成「我該往何處 去？」。像哲學家一樣提出疑問，卻不像他們般追尋答案，畢竟面對真 相需要極大的勇氣。如果能像遊幽一走了之⋯⋯ ／ 畢業於香港兆基創 意書院，修讀表演藝術系。準國立台灣大學戲劇系學生 。 We used to ask ‘Where are we from?’ as a kid, the question becomes ‘Where should I go?’ as we grow up. It takes massive courage to face the truth. If only one could disappear like Yau Yau... / Graduate ofHong Kong Lee Shau Kee School of Creativity in Performing Art, admitted to Drama Department, National Taiwan University.

作 曲 ／ 音 響 設 計

彭欣琳

HO Ka Kiu

CHAN Ho Ting

CHEUNG Lee Hung (Holmes)

CHEUNG Hin Tung

CHEUNG Man Che

CHIU Lo Yin

SO William

_Composition / Acoustic Design

彭欣琳(Vi Pang) 從小開始學習口琴和古典鋼琴，在中學時期對編曲產生 PANG Yan Lam Vivian 興趣。她於2012年開始接觸數碼編曲及作曲，曾為香港藝術發展局頒獎 典禮設計配樂，並開始參與流行歌曲的幕後工作，發表作品包括《列車 尚未停定》、《渴睡症》等。近年她積極嘗試不同場合的演唱。 Vi Pang has developed an unbreakable connection with music since early age when she started to learn harmonica and piano. She discovered the magnificent character of trumpet as a member in the band and started to include this element in her pop music arrangements as her signature. She believes that there are feelings that can only be expressed with music, and creating music means exploring life. Apart from the production work, she also actively participates in the busking field in Hong Kong.

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︽ 自 照現 湖代 ︾舞 表 演 _ Narcissus’ Lake Contemporary Dance Performance “頭和心的距離有多遠？心和手的距離有多遠？為了拉近它們之間的距離，你 是否已經筋疲力竭？我懷疑多少我是滿足不了展露身體的慾望而寫作的。 ＊ ＊ 自從他開始寫作，他就無法辨認自己了。⋯有時好像差不多可鎖定焦距了，看 到形貌了，出現了，照見了，稍一過了頭，又模糊了。” ＊ ＊ 他們完全不理會別人的說話，只沉迷於湖面上自己的倒影。 終於「咚」的一聲⋯ ”

“What is the distance between the head and the heart? What is that between the heart and the hands? Were you exhausted to shorten the distance between? I wonder the motivation to write comes from the desire to expose my body.

As he starts writing, he could not identify himself anymore ... sometimes the focus is nearly there, with outlines visible. It appeared and fluctuated, then blurred again.

They never listen to what others say, indulged in the reflection on the surface of the lake.

Eventually, a dull tud is heard...”

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演 出 詳 Performance Details _ 情

演出（共四場）： Performances Detail (4 in total) : 日期：2018年1月1日至4日 Date : January 1 - 4, 2018 時間：10 pm – 10:45 pm Time : 10 pm – 10:45 pm 票價：八十元 Price : HKD $80

團 Team _ 隊

陳偉洛：編舞 、演出者 、裝置設計 Chan Wai Lok: Choreography, Performer, Installation Design 曹海寧：藝術指導 Tso Hoi Ling: Artistic Direction 蕭敏： 空間及裝置設計 Siu Man: Spatial and Installation Design

演 出 簡 Introduction _ 介

是次舞蹈表演以小說的提問作引子，《自照湖》在於城市邊緣空間圍起一個私 密的房間，入夜後的演出，場域特定裝置中，思索自我空間與世界聯繫的掙 扎，與內心對話的孤獨、沉溺與抽離，並邀請觀者一同窺視及參與這場私密的 表演。 孤獨配不上激烈的劇情，平靜地拒絕孤獨，平靜地計算孤獨的成份。孤獨慢慢 累積，滴成湖泊，淹沒整個房間，唯有在幾乎靜止的空間與自己對話，坦承最 赤裸的自己。希望在新一年的開始和你分享這樣的一個故事。 With the setting in Writopia and the Spell of Disappearance as prelude, Narcissus’ Lake puts up an intimate room at an underused peripheral urban space. The performance, staged at night in an site-specific installation, contemplates the struggles between one’s mental space and the linkage to the outside world. We invite the audience to peep through the barrier to observe the inner world of oneself and share the sentiments about addiction and solitude. Solitude slowly drowns one in a lake. Perhaps it is in this room of one’s own when time slows down, and one could face his innermost self. 《自照湖》項目資助:

香港藝術發展局全力支持藝術表達自 由，本計劃內容並不反映本局意見。

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鍾 宏 亮 _Thomas Chung 香港中文大學建築學院副教授，於劍橋大學畢業及英國執業。主要研究興 趣為特定文化背景下，建築對現代城市都市秩序的影響。目前正在從事關 於建築與城市表現及文化想像的相互影響、以及香港本土城市新陳代謝的 研究。在過去十年以策展人、推動者及展出者的身份活躍於深港城市建築 雙城雙年展及威尼斯建築雙年展。2008首屆香港·深圳建築\城市雙城雙 年展 “再織城市”合作策展人，參展過2009及2011年雙年展。2010、 2014 及2018年威尼斯建築雙年展展出或策展。作品融合生態設計及公共社會文 化創新：價值農場 (2013) 及蛇口浮田 (2015)。後者榮獲2016年世界建築節 (WAF2016)類別冠軍。

Thomas Chung is Associate Professor at the School of Architecture, The Chinese University of Hong Kong. He graduated from the University of Cambridge, and has practiced as a registered architect in the United Kingdom. His research interest involves understanding how architecture contributes to the urban order and culture of the modern city. His current research focuses on the interplay of architecture with urban representation and cultural imagination, and the metabolisms of urban vernacular in Hong Kong. Thomas is active in curating and exhibiting at the HK-SZ Bi-City Biennale of Urbanism\Architecture (UABB) both in Hong Kong and Shenzhen since 2007-08, as well as at theVenice Biennale Hong Kong Pavilion in 2010 and 2014. He served on the Board of Directors for the Hong Kong Architecture Centre (2011-2017). Thomas’ award-wining projects Value Farm (2013) and Floating Fields (2015) combine architectural design with socio-cultural innovation.

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潘 國 Lawrence Pun _ 靈 小說家、文化評論人。一九九六年開始創作小說，作品於兩岸三地發表， 著有小說集、城市論集、散文、詩集等十多種，近著有長篇小說《寫托邦 與消失咒》（2016）、小說選集《存在之難》（2015）、散文集《消失物 誌》（2017）等。二○○六年獲亞洲文化協會頒發「利希慎基金獎助金」， 赴美交流一年，及參加愛荷華大學「國際寫作計劃」。同年赴伊雲斯頓西 北大學參加該校首屆「國際寫作日」，及到芝加哥蕭邦劇院與當地作家交 流。曾獲青年文學獎小說高級組冠軍、中文文學創作獎、香港文學雙年獎 小說推薦獎、香港書獎等。二○一一年獲香港藝術發展局頒發「年度最佳 藝術家獎（文學藝術）」。現於香港中文大學及浸會大學教授文化身份、 創意寫作、香港文學等科目。

Lawrence Pun is a novelist and cultural critic based in Hong Kong, with publications also in Taiwan and the Mainland China. He has authored 16 books since 1997, among them include his latest novel Writopia and the Spell of Disappearance (2016), his anthology of fictions La Difficulté d’être (2015), his latest prose work Evanescence (2017), etc. Winner of a number of literary awards, in 2006 he received the Lee Hysan Foundation Fellowship from the Asian Cultural Council, sponsoring him for a one-year exchange in New York and participation in the International Writing Program at the University of Iowa. He has also participated at the “International Day of Writing” invited by the Northwest University at Evanston, and “Chicago International Writers’ Exchange” organized by Chicago Guild Complex. In 2011 he received “Award for Best Artist (Literary Arts)” presented by the Hong Kong Arts Development Council. He currently teaches UG and MA courses at the Chinese University of Hong Kong and the Baptist University.

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異質沙城

譚 孔 文 _ Alex Tam 浪人劇場藝術總監，香港演藝學院客席講師，2008年任駐院藝術家。譚氏為 資深劇場導演、舞台及服裝設計師、編劇、監製、節目策劃及創意教育導 師。作品喜從不同的劇場元素融合成充滿詩意的意象，創造出質樸而具想 像力的表演風格。1999年畢業於香港演藝學院戲劇學院，主修導演，獲頒藝 術學士（榮譽）學位；1997年畢業於香港演藝學院科藝學院，主修舞台及服 裝設計，獲頒一級藝術學士（榮譽）學位。導演作品包括浪人劇場《BearMen》、《心林》、《裸「言泳」無邪》－改編自陳冠中《香港三部曲》 （香港首演及2015年北京市體制外優秀青年戲劇推薦展演重演）、《鯉魚門 的霧》（2014深圳首屆中國城市戲劇節三度公演；2012北京國際青年戲劇節 重演及2010香港首演) 等。

Alex Tam Hung Man is the founder and Artistic Director of Theatre Ronin, guest lecturer of The Education University of Hong Kong and The Hong Kong Academy of Performing Arts. Tam was the resident artist in The Hong Kong Academy of Performing Arts in 2008. Tam is an experienced director, Stage and costume designer and curator of creative projects. His works are marked by poetic imageries composed of different theatrical elements and a simple, unadorned but imaginative style. Tam graduated from The Hong Kong Academy of Performing Arts with first class honours majoring in Directing and in Set and Costume design. Tam’s directorial works include but not limited to: Bear-Men – inspired from Aspiration of Sewing Bear by Xixi, Nature - Adapted from Androgyny by Dung Kai-cheung (2016 re-run at Kuan Du Festival in Taipei and premiere in HK), Landscape In the Mist - Adapted from Mist over Lei Yue Mun by Shu Hong-sing (2016 4th run at the XI Festival Internacional de Artes Escénicas Bahía Teatro in Argentina, 2014 3rd run at the first Urban Festival in Shenzhen, 2012 re-run at Beijing International Fringe Festival and 2010 premiere in HK) , Sentimental K - Adapted from Hong Kong Trilogy by Chan Koon-chung (2015 Recommended Drama Performance of Outstanding Youth in Beijing and premiere in HK).

Hetero-Hong Kong

異質沙城

蕭 Siu Man _敏 現為劍橋大學建築及城市設計碩士研究生。畢業於香港中文大學建築系， 後獲梁紹鴻休斯學院獎學金赴英國，研究弱空間的槪念和城市的表演空 間，相信文化藝術可以拓闊一般建築設計思考的視野。大學時參與無止橋 團隊並在甘肅帶領設計及建造涼亭項目。二零一五年與好旺角天台農場團 隊參與深港城市建築雙城雙年展。

Siu Man is reading MPhil in Architecture and Urban Design (MAUD) at the University of Cambridge. “Hetero-HK” is a manifesto in action for her current thesis research “Strength in Weakness: Choreographing Hong Kong Voids”. Siu obtained her BSSc in Architectural Studies at The Chinese University of Hong Kong, and was awarded consecutive Best Studio Design Awards in her final year.

Siu was team coordinator of Bridge2China CUHK Team; she supervised the design and construction of an award-winning pavilion project in Gansu, China.

In 2015, she co-designed a participatory urban farm installation in the Hong Kong-Shenzhen Bi-City Biennale of Urbanism\Architecture.

Hetero-Hong Kong

異質沙城

_Chan Wai Lok

陳 偉 洛

_Max Lee

李 健 偉

生於香港，中學時開始接觸舞蹈，2015年畢業於香港中文大學建築系，畢業 後前往奧地利SEAD習舞，現於比利時P.A.R.T.S.修讀舞蹈，致力開發身體及 思想的可能性及之間的關連。習舞期間在歐洲不同舞台展示其編舞作品， 陳氏希望作品呈現方式多變且具實驗性，期待畢業後回港展開其全職的舞 蹈事業。

Chan Wai Lok started learning to dance in secondary school. After graduating with a BSSc in Architectural Studies at The Chinese University of Hong Kong in 2015, Chan undertook professional dance training at Salzburg Experimental Academy of Dance (SEAD) in Austria. During his current dance study at the Performing Arts Research and Training Studios (P.A.R.T.S.) in Brussels, Chan has presented his own choreographic works on different stages in Europe. Chan aims to create experimental works, and to devote himself as a full time dance artist in Hong Kong after graduation.

李氏先後畢業於香港演藝學院舞蹈學院及英國倫敦當代舞蹈學院。李氏同 時是一位編舞、導演、舞者、演員及舞台錄像設計師。多年來參與多個當 代舞蹈、音樂劇、舞台劇及演唱會等大型製作，更為不同文化項目演出及 擔任編舞工作。李氏亦多次為香港藝術節、香港藝穗會、不加鎖舞踊館、 香港話劇團、7A班戲劇組、天邊外、大細路劇團、浪人劇場、銀河映像等 團體擔任編舞或錄像設計。2010年成立「Room 9 dance theatre」，並於同年 創作跨媒體劇場《Room 9》，積極製作了一系列別具風格之作品，開拓舞 蹈劇場的藝術和發展空間。

Max Lee is a choreographer, dancer and actor. He was trained at the Hong Kong Academy for Performing Arts and London Contemporary Dance School. Over the years, he was involved in many contemporary dance, musical, stage performance and other large-scale production. He founded Room 9 Dance Theatre in 2010 and produced “Room 9”. His was twice commissioned by Hong Kong Arts Festival (Silent Box, Talk to Me). His latest work “Galaxy Dreamer” was presented by the Leisure and Cultural Services Department of Hong Kong and was later brought to Adelaide Fringe Festival, receiving a four-star review by The Advertiser.

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Hetero-Hong Kong

異質沙城

異質沙城

鍾宏亮（建築） 蕭敏 （建築） 潘國靈（文學） 譚孔文（劇場） 李健偉（錄像） 陳偉洛（舞蹈）

Project Curator _ 創 作 團 隊

Organizing Body _ 合 辦 機 構

Narcissus’ Lake _ ︽ 自 照 湖 ︾

倒模工作室 Moldflip Studio Credits to _ 鳴 謝

Exhibiting Artists_ 展 出 藝 術 家

Forum Guests _ ︽ 浮 沙 之 城 ． 異 質 景 觀 ︾

Sponsoring Artist Unit _ ︽ 水 蟬泥 迷浮 董雕 卓贊 ︾助

François Penz Nuria Krämer

何苑瑜 HO Yuen Yu 莊一淇（麥秋）

陳麗喬博士 Dr. LK Chan 米蘭 Milan Lee 黃芷芃 Christy Wong Tsz Pung 徐思敏 Tsui Sze Man Eunice 黃倩婷 Wong Sin Ting Candy 郭凱琳 Kwok Hoi Lam Helen 陳偉森 Chan Wai Sum 劉健強 Lau Kin Keung Jason 張瀚婷 Cheung Hon Ting Wendy 鄭雅茵 Cheng Nga Yan 李嘉曦 Lee Ka Hei

CHONG Yat Kei (Chou McAutumn)

李俊亮 凌逾 夏芝然 莫健偉 張歷君 黃宇軒 葉長安

公 眾 論 壇 嘉 賓

Mr. Indy Lee Prof. LING Yu Ms. Cat Ha Dr. Patrick Mok Dr. Lik-kwan Cheung Mr. Sampson Wong Mr. Alvin Yip Typesetting _ 排 版

團 隊

陳偉洛 蕭敏 曹海寧

聯經出版事業公司 Linking Publishing 李歐梵教授 Prof. Leo Ou-fan Lee

管翺君 Koon Ngo Kwan Jazz 黃艷玲 Wong Yim Ling Tiffanny

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二零一七年 十二月 December, 2017

Hetero-Hong Kong

異質沙城